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he Classical Outlook I Summer 2010 Volume 87, Number 4


"SO SAY WE AL:C'-REIMAGINING EMPIRE AND THE AENEID
CORINNE PACHE
Tr:..aity University
Batt/estar Ga/aetiea, a television series that aired on the SyFy
Channel from 2003 to 2009, tells the story of the Twelve Colonies,
a human society whose home planets have been destroyed by
a race of robots, the Cylons. These androids, originally created
by mankind as a slave workforce, have at the moment of their
revolution evolved to become physically indistinguishable from
humans, and, after they turn against their creators, as the Internet
Movie Data Base tag line puts it: "The fight to save humanity rages
on." While the series presents itself as a traditional science fiction
narrative with the usual fanciful special effects, it departs from
many of its predecessors, including the 1970's series of the same
name it reimagines, in its darker and grittier view of the future
of the human race.
l
Battlestar Galactica is ostensibly set in an era
very different from our own, but, as many have noted, it explores
with compelling directness such contemporary phenomena as
the so-called "war on terror," the war and insurgency in Iraq, and
the limits of American "hyper-power," by recasting these themes
within a mythic narrative of foundation. In this article, I focus on
the relationship berween rwo central characters, Laura Roslin and
Bill Adama, and argue that Battlestar Galactica offers a feminized
version ofVergil's Aeneid that focuses on love and compromise as
the basis of the new empire.
2
The series highlights its connection to the classical tradition at the
outset by making its human civilization polytheistic-not only do the
inhabitants oftheTwelve Colonies worship a multiplicity ofdivinities,
but both gods and mortals have names that evoke the classical
tradition, such as Athena, Apollo, or Hera. Strucrurallinks berween
Battlestar Galactiea and Vergil's Aeneidare easy to detect: the themes of
exile and empire building, in particular, are reframed in an alternative
mythic reality that includes many elements from the ancient epic.
3
Like the Trojans who follow Aeneas after the sack of their city, the
human survivors of the Twelve Colonies gather around a charismatic
military leader, Admiral William "Bill" Adama, brilliantly played by
Edward James Olmos, on their quest for a new home, "Earth," a
mythical planet known only from prophecies and sacred lore, where
they hope to find a safe haven for their jeopardized civilization. Like
the ancient poet, the series' writers like to draw connections berween
their narrative's mythic elements and recent history-in particular to
those events that stress the cost of empire. By reimagining an empire
in which a woman, President Laura Roslin, can be a strong leader but
is also by definition a tragic the series evokes the epic figure of
Dido. Aeneas similarly can be seen in Admiral Adama's self-sacrifice
and determination to bring his people to ~ place where they will be
able to refound their civilization. It is thus not surprising that Cupid
should play.a central role (in this case, figurative) in the narrative as
the rwo leaders become increasingly attracted to one another. Yet it
is in the romance berween Dido/Roslin and Aeneas/ Adama where
Battlestar Galactica most significantly departs from its epic model
insofar as it delays the romantic relationship berween the rwo leaders
and makes it the key to the success of their journey.
Instead of abandoning a new lover to accomplish his mission,
as Aeneas must do with Dido in the Aeneid, the condition for
Admiral Adama's success in finding Earth is his connection to a
woman, Laura Roslin. Laura, played by the remarkably talented
actress Mary McDonnell, appears in nearly every episode of the
series, and plays a central role in the foundation narrative. On the
day of the Cylons' final rebellion, Laura, in her role of Secretary
of Education for the Twelve Colonies, had travelled to Galactica
for the ceremony marking the passage of the battleship into a
museum. While the Cylons' attack almost succeeds in wiping out
the human race, the few thousands who happen to be travelling
through space at the time manage to survive. Laura, the forty-third
official in line of succession, discovers that she has become the
highest-ranking government official left alive and becomes sworn
in as the president of the Twelve Colonies. Laura Roslin and Bill
Adama, the Commander of the Battlestar Galactica, thus begin
their relationship as the rwo highest surviving representatives of
civilian and military leadership. Tensions berween their sometimes
conflicting priorities begin immediately when Adama decides he
must counter-attack the Cylons and Laura points out the human
race's best hope is to run.
Laura Roslin is introduced to us from the beginning as a tragic
figure: in the first episode, just before she boards her transport
to Battlestar Galactica, she learns she has terminal breast cancer.
Details of Laura's grief-stricken life are revealed gradually and
many of the most tragic events are withheld until the last season.
Not only did she nurse her mother as she was dying from the same
kind of cancer that will eventually kill her, but she also lost her rwo
sisters and father in a car accident. The long series of events that
gradually deprives Laura of mother, father, and sisters leads her
to a life in which she is incapable of connecting with anyone. A
bittersweet one-night stand with a former student pushes Laura to
accept an offer to work on the campaign for the presidency of the
Twelve Colonies by Caprica city's mayor, Richard Adar, a fateful
decision that explains her position as Secretary of Education at
the beginning of the series. There are hints that Laura, at some
point, also became Adar's mistress, though the significance of the
relationship to Laura is never made clear.
At the beginning of Battlestar Galactica, both Laura and Adama
have lost much, and they are equally self-reliant, solitary, and
stubborn in their sense of dury: he to the military that has become
his family, and she to the civilian survivors for whom she has become
responsible. Unlike Dido, Laura is initially reluctant to follow her
emotions. It takes her four seasons to admit her feelings to herself
and to Adama, whose characteristically gruff and understated
reaction when she finally confesses she loves him is to tell her "it's

about time." Their relationship is also implicitly tragic as Laura's


death from cancer is already imminent. After she first expresses
her feelings to Adama, Laura's role in the narrative becomes more
passive. Laura Roslin, despite the challenges of her recurring
cancer, starts as an extraordinary, strong figure and throughout the
three seasons of the series remains a uniquely compelling female
character: a woman who is a leader, rough, sometimes to the
133 Volume 87, Number 4 The Classical Outlook / Summer 2010
point of cruelty and at the cost of her own principles, but always
independent and trusting in her own judgment. Just as Dido starts
to neglect her city after she meets Aeneas, Laura in love starts to
distance herself from her political role. Instead of running wild
through the city like Dido, "raving mad, like a doe / pierced by
an arrow," (4.68-69, Lombardo translation) Laura begins to jog
~ a p p i l y around the battleship.
The series develops its characters in a leisurely, novelistic manner,
adding layers of meanings to their actions and reactions through
flashbacks and visual clues. As the seasons progress, we learn more
about Laura's and Bill's pasts, both distant and just preceding the
Cylon attacks. A flashback in "Daybreak: Part 1" (the first part of
the series finale) shows how loss has defined Laura by connecting
her past with her present. The scene starts in the past on Caprica, as
two policemen, a man and a woman, knock on a door. The scene is
formulaic, and viewers recognize the implied visual message of the
police visit: something terrible has happened. A sense of foreboding
is powerfully evoked by the way in which the door to Laura's house
is lit. It is early morning-Laura answers the door in her night
gown-and the sun shines through the door in such a way as to
make it appear translucent, almost mystical. When the policemen
walk through the door, they walk through the light, disappearing
for an instant, as if through a supernatural portal.
Maty McDonnell, a master at communicating emotions
without showiness or histrionics, makes clear the fear and tension
felt by her character when she leads the two officers to their seats.
An accident has occurred, they tell her, which has resulted in the
death of her father and both of her sisters.Yet as the scene unfolds,
Laura's reaction does not fit the viewer's expectations. She turns her
back to the police officers, and asks them to show themselves out.
There are no tears; her face is a passive mask. Instead of breaking
down, Laura seems numb. She starts tidying up the living room,
picking up the gift wraps left over from the previous evening's
baby shower she threw for one of her sisters, and comes across
a photograph of herself, her sisters, and father, and looks at it in
disbelief Then Laura purposefully walks through the illuminated
door. Again, the light symbolizes transition: after the policemen
walked through the door, everyrhing changed for Laura; and it
is only after she crosses through the illuminated threshold, her
black night gown almost disappearing in the light, that the signs
of her grief begin to show. Standing at the edge of a fountain in a
Caprica City park, Laura starts to inhale and exhale with increasing
agitation, her chest rising and falling. As sorrow overtakes her, she
walks to the center of the water and leans against a rock that is
splashed by a waterfall, where the water showering her face mixes
in with her tears, and the camera moves from Laura's face to drops
of water, rain-like, falling in the fO).lntain. Softly, the drops of
water fade into the drops of fluid in Laura's intravenous drip in
the present in which she lays in the sick bay. From the tragedy in
Caprica City to her cancer in the present, Laura's life is defined by
her acquaintance with the horrific proximity of death.
The rock against which Laura leans in her moment of greatest
despair fqreshadows another image of rocks, which I will discuss
below, that comes at the vety end of the series and is connected
with the newly found "Eartth." The series also connects Laura's
tragic illness with the survivors' quest for home in a montage
at the beginning of the series finale. Immediately following the
credits, evety episode of Battlestar Galactica starts with a short
montage that showcases some of the important moments of each
episode. The last montage of the series occurs after the credits
of "Daybreak, Part 1" (the series finale consisted of "Daybreak,
Part 1" and "Daybreak, Part 2," which were shown immediately
following on one another), and features a series of five images: a
galaxy, a bird trapped under a glass ceiling, a planet, water dripping
in the fountain, and a close-up of the same planet just shown.
Framing the image of the fountain where Laura finds herself after
hearing of the accident that killed her family between two views
of the planet the survivors will call "Earth" makes a connection
between Laura's tragedy and the successful quest for home. The
drops splattering in the fountain and the drops in the intravenous
drip both point to the ultimate tragedy of Laura's life: as necessaty
as Laura was to the successful quest for "Earth," she herself will
not survive long beyond the day of its discovery.
In "Daybreak, Part 1," Laura asks her doctor to cut her pain
medication. It may be that the palliative drugs that keep the
physical pain of her cancer at bay leave her open to reexperiencing
the grief of her memories, though it is impossible to say with
certainty whether the flashback of the accident is experienced as
a memory by Laura herself Be that as it may, immediately after
the flashback Laura decides she would prefer to endure the pain
and regain full consciousness, a decision she makes known with
a hand gesture to her nurse. At the end of Battlestar Galactica,
in "Daybreak, Part 2," Adama launches a risky attack to rescue
Hera, the only child to be born to a Cylon mother and a human
father. At this point in the narrative, Laura decides to find a way
to help make Adama's plan successful. In order to be able to stand
on her feet for the next 48 hours, she injects a psychostimulant
drug that will temporarily give her strength but hasten her death
in the process. While Laura has much in common with Dido
throughout the last season of the series-her maenad-like jogging
through the ship, her abandonment of governing that had been
so important to her throughout the series-her self-sacrifice is
the opposite of Dido's decision to kill herself on the sword of her
beloved after Aeneas's departure. Laura's quasi-suicide has nothing
to do with romantic love. Laura's choice to take the drugs in fact
brings her back into the political life that she had seemingly given
up, and thoughts of her lover play no part in her decision. Laura
decides to take the drugs so that she will have enough energy to
be useful during the rescue mission, and thus puts the well-being
of the community before her own. From the first episode when
she learns she has a deadly form of cancer to her death in the last
episode, Laura's life is defined by tragedy.
While Laura plays a central role in the survivors' successful
quest for "Earth," the narrative of foundation in the series, as in
Vergil's Aeneid, centers on a strong male figure determined to lead
his people to their new home. Adama is presented as a modern
Aeneas: Bill Adama is a charismatic leader with an intense sense
of his mission and readiness to sacrifice his own desires for the
well-being of the men and women under his command. After
his divorce, Adama has reconstituted his life around the military
that has become his family, both in the sense of being his support
system, but also, and chiefly, as being his responsibility. Adama is
also a lonely, bitter man whose wife left him long ago, and whose
relationships are often tainted by his position at the top of the
militaty hierarchy. During the first season of the show, Adama is
reunited with Lee Adama, himself a fighter pilot in the Colonial
Fleet. His only surviving son (Adam a forced Lee's older brother
into a career as a pilot that led to his death) reproaches his father
134 The Classical Outlook / Summer 2010
Volume 87, Number 4
for putting his career before his family. Father and son have a
complex relationship, but, eventually, they reconcile and Lee plays
an important role helping the survivors of the Twelve Colonies
find their new home.
Whereas Aeneas is still a young man with a future ahead
of him at the beginning of the Aeneid, Adama is older and has
r e a c 2 ~ e d the end of his working life when he accepts the job of
being a curator as it were to the Batclestar Galactica, a storied
interstellar battleship now destined to become a literal museum
piece. Adama is forced into retirement from active duty just
as Battlestar Galactica is decommissioned because its weapon
system is deemed obsolete. Both Adama and the battleship
under his command thus represent an outgoing generation and
its outmoded way of doing things. Yet the archaic aspects that
make both battleship and man irrelevant will be revealed as the
very qualities necessary to survive after the near-destruction of
human civilization. Battlestar Galactica, because its electronic
systems are not networked, turns out to be more resilient to
Cylon attacks than more sophisticated models. Similarly Adama's
old-fashioned sense of military valor and virtue will also become
crucial for the expedition's success.
Whereas Aeneas' success in founding Rome depends on his
ability to subjugate the Latin population to his goal, the union
between Bill and Laura, and the possibilities it opens for consensus
and peace, becomes the basis for the renewal ofcivilization through
the creation, not of an empire, but of a home. His relationship
with Laura softens Bill's attitude, and convinces him that the
success of their mission lies in trusting a group of rebel Cylons.
His newly found sense of compromise and trust puts him at odds
with many ofhis inferiors, some ofwhom attempt, unsuccessfully,
to overthrow him. Both Laura and Bill are right that a new home
for the survivors of the Twelve Colonies can only be found if both
factions, human and Cylon, agree to work together, and together
they find the planet they name "Earth."
In Vergil's Aeneid, Aeneas, a hero without a home on a god
given mission to found a new city, finds himself delayed by the
temptation of a woman who is not his wife and a land that is not
his own. Unable to go back to the city and family he has lost, and
having not yet reached the land where he will found a new home,
Aeneas must leave Dido, and, in Aeneid 4, he sees his present
dilemma in terms of future memories:
Ego te, quae plurima fonda
enumerare vales, numquam, regina, negabo
promeritam; nee me meminisse pigebit Elissae:
Dum memor ipse mei, dum spiritus hos regit artus.
"My Queen,
I will never deny that you have earned my gratitude,
In more ways than can be said; nor will I ever regret
Having known Elissa, as long as memoty endures
And the spirit still rules these limbs of mine.
Vergil, Aeneid 4.333-336 (Lombardo translation)
Aeneas' proleptic nostalgia is striking because it encapsulates the
ways in which a successful heroic homecoming is connected with
leaving a woman behind and transforming loss into a memory of
loss. In Battlestar Gaiaetiea, Adama gets the girl, and together they
find a new home, but, like Aeneas, Adama also finds that his life
moves from experience to memories of loss.
Aeneas' promise to remember also has literacy echoes. An obvious
intertext is Jason's assurance to young Medea in Apollonius Rhodius'
Argonautiea (3.1079-1081), itself inspir,f:d by Odysseus' farewell to
Nausikaa in Homer's Odyssey, in which Odysseus promises Nausikaa
that he will remember her "for all days" because she saved his life
(8.464-468). In the ancient sources, the woman who saves the hero
and makes his goal attainable is always eventually left behind. Similarly;
Bill Adarna finds himself at the end ofhis epic quest alone.
Bill Adama and Laura Roslin spend their last moments together
on "Earth." Laura is close to death but survives long enough for
Bill to take her for a flight over the wondrous wildlife living in their
new home. Laura is entranced by the animals they see and she says
her last words, "so much life," with a smile. When Adama realizes
Laura has just died, he takes his wedding ring-from his previous
marriage-and puts it on his lover's finger. This marriage in death
is striking on several counts. First, Adama uses his own wedding
ring, a left-over from his first marriage, an ominous object. And
second, Laura is dead, and thus unaware of this moment, which
should be, by definition, a moment shared by two people. Adama's
solitary gesture highlights the tragedy of Laura's premature death
and Adama's own involuntary serial singlehood.
The last time we see Bill Adama in the series, he is talking to
Laura:
"I laid out the cabin today. It's gonna have an easterly
view. You should see the light that we get here when
the sun comes from behind these mountains. It's almost
heavenly. It reminds me of you."
("Daybreak, Part 2," Season 4, Episode 20)
The scene starts with close-ups of Adama's face, front and
profile. When the camera pans and zooms out, it reveals a funeral
mound next to Bill. Sitting next to Laura's tomb, alone, Bill is
deprived of everything and everyone he loved after the destruction
of his battleship, the death of Laura, and his son's departure.
Despite her prominent role in the narrative, Laura, like Dido, has
been reduced to a tomb, a pile of rocks, and to a memory, and like
Dido, she becomes a ghost whose life and sufferings encapsulate a
people's yearnings and sacrifices for home.
But, unlike Aeneas who goes on to a new city and new wife,
Adama fulfills Aeneas' promise to always remember. By building
the cabin, Adama fulfills a wish of Laura she had shared with him
on New Caprica, a planet the survivors had hoped to settle on in
season 3, before being found, again, by the Cylons. There Bill and
Laura enjoyed long talks during which Laura had confessed to a
desire for a cabin in the mountains. Adama fullfills her wish, but
he is left as an image of memory, a solitary man who talks to a
tomb and whose life is entirely in the past.
Laura's desire for a cabin is a recurrent theme in the last two
-
seasons of Battlestar Gaiaetiea, and it is crucial to the bond between
Bill and Laura:
Roslin: Do you remember that day?
Adama: Yes. New Capri ca. Baltar's groundbreaking. We
talked, and talked.
Roslin: About a lot of things. Guess what I'm thinking
about right now?
Volume 87, Number 4 The Classical Outlook I Summer 2010 135
Adama: Gimme a hint.
Roslin: Mountains. A stream running into a little lake.
Water so clear it's like looking through glass.
Adama: Your cabin. The one you wanted to build.
Roslin: It's amazing how much I still think about it. You
know, sometimes I wonder ... what home is. Is it an actual
place? Or is it some kind oflonging for something, some
kind of connection? You know, I spent my whole life on
Caprica. I was born in one house, and then I ... I moved
to another, and then, this. And then, now. I don't think
I've ever felt truly at home until these last few months,
here, with you. I know you love this ship. You probably
love her more than you love me. Bill, if you don't get us
off this ship, you may lose both of us at the same time.
Why don't you give us a chance?
("Islanded In A Stream of Stars, Season 4, Episode 18)
For Laura, the cabin is a fantasy that she has no hope of
fulfilling. The cabin symbolizes home, but, lost in space, Laura
comes to see Bill as her new home. And after her death, for Bill,
the whole world becomes a reminder of Laura.
The kind of allusiveness we see in Vergil alluding to Apollonius
echoing Homer can be seen in Battlestar Galactica both with the
classical and other traditions. As it gets closer to its conclusion,
Battlestar Galactica gets ever more allusive, including in its frame
of reference the whole of the literary tradition, including Greek,
Roman, and biblical allusions, Milton's Paradise Lost, Emily
Dickinson, and contemporary popular culture. This insistence on
absorbing the whole of the literary tradition is itself, of course, a
classical trope already central to Vergil's Aeneid, which appropriates
and transforms Homer's Iliad and Odyssey, and Apollonius
Rhodius' Argonautica. Within the epic, art is also depicted as a
form of connection: Dido already knows of Aeneas before his
arrival, and Aeneas is confronted by an artistic representation of
his own life when he looks upon the sack of Troy as depicted on
the temple of Juno in Aeneid 1. Similarly, Battlestar Galactica's
narrative alludes to other traditions, and it also highlights the
importance of such connections in individuals' lives. Ostensibly
placed in the future, the narrative constantly appeals to the past,
through memory and hyper-allusiveness to both recent popular
culture and the classical tradition. Battlestar Galactica has epic
ambition and consistently insists on its ability to shapeshift
between genres: thriller, adventure, melodrama, love story, epic
and political saga, Battlestar Galactica transcends its origins as an
old-fashioned science fiction quest story.
Where Battlestar Galactica differs from ancient epic is on the
primacy ofplace it gives to popular culture. Jimi Hendrix's cover of
Bob Dylan's song, Along the Watchtower," is repeatedly heard
in the last episodes and its (garbled) melody plays a crucial role in
the survivors' ability to finally find a planet they can settle as their
new home.
4
Both Bill and Laura also love reading mysteries, and
express their love for each other by giving each other books and
reading to one another. Their bond is very much focused on their
strong sense of to the past, their goal to find a planet
where to refound human civilization, and on their common taste
in books. When Laura is undergoing a treatment for her cancer
that leaves her very weak, Bill goes to the sickbay to read to her
from one of their beloved mysteries, "Love and Bullets":
It started like it always did. With a body. This one was
in the river, and I could tell she had once been beautiful,
but this bullet and fast current had taken away from her.
All we are, or that we think we are, all that we are certain
about, is taken away from us. When you've worked the
streets and seen what I've seen, you become more and
more convinced of it every day. Caprica City has been
my teacher, my mistress.
Adama reads this passage to Laura, but when he reaches the last
lines, he looks up from the book and continues to recite aloud,
revealing that he knows the last words by heart. When he speaks
them, the lines ostensibly about Caprica City are actually about
his relationship with Laura:
From the moment I opened my eyes, she is in my blood,
like cheap wine. Bitter and sweet, tinged with regret. I'll
never be free of her, nor do I wanna be, for she is what I
am. All that is, should always be.
("The Ties That Bind," Season 4, Episode 3)
This passage foreshadows the bittersweet regret Bill will feel
after he lays out the foundation of the cabin after Laura's death.
Bill and Laura, the two leaders who guide the survivors of the
Twelve Colonies to their new home, not only find a home for their
people, but become each other's home.
Battlestar Galactica distances itselffrom the epic tradition in its
emphasis on consensus. In the Aeneid, Aeneas can succeed only by
attacking and conquering the dty of the Latins. By contrast, after
they find the already inhabited planet they decide to settle, the
human and Cylon survivors eventually decline the opportunity
to refound their empire, and attempt to put an end to the cycle
of attack and vengeance. When discussing how they will establish
themselves on the planet that will become their home, Adama's
son, Lee, makes a radical suggestion:
No, no city, not this time.
("Daybreak, Part 2," Season 4, Episode 20)
Lee Adama convinces his father and the other survivors not
to build a new city and to abandon technology completely by
sending their ships into the sun. In Battlestar Galactica's version of
the foundation narrative, foundation is also a rejection. The past
disappears as the older generation dies off, and the future is in the
hands of Hera, a girl with a Cylon mother and a human father,
who becomes, as we come to realize at the very end of the series,
the ancestor of our human race, the "mitochondrial Eve."
Lee's formulation, "not this time," also points to the cyclical
perspective of the narrative. While Lee Adama rejects the
technology and, implicitly, the values of earlier generations, the
future of the survivors' descendents looks remarkably like our

recent present. The series ends with a fast forward to 150,000


years later, in a Times Square that looks similar to ours, and with
a culture on the cusp of developing ever more complex forms of
artificial intelligence. Ultimately, we do not know whether Lee's
and the other survivors' attempt to end the cycle of vengeance
and destruction is successful. The decision to found a civilization
without cities or technology in the end leads back to the very
things the survivors were attempting to avoid.
136 1he Classical Outlook I Summer 2010 Volume 87, Number 4
Battiestar Galactica presents a vision of an alternate future that
could be our past.
All of this has happened before.
But the question remains, does all of this have to happen
again?
("Daybreak, Part 2," Season 4, Episode 20)
Another departure from the epic tradition, which tends to favor one
voice over the many, is Battlestar Galactica's stress on community
agreement reflected in the typical prayer's ending I quoted in
my tide, "so say we all." This emphasis on consensus hints at the
possibility, in Bob Dylan's words, that "there must be some way out
of here," though the ending in the form of a contemporary view
ofTimes Square filled with images of robots evokes the opposite
conclusion. Like Vergil's Aeneid, Battlestar Galactica concludes
in a conundrum: can a new empire be founded on the idea of
consensus? Or are victory, defeat, and vengeance only around the
corner for the descendenrs of the Twelve Colonies? The last words
are given to Jimi Hendrix performing Bob Dylan's "Along the
Watchtower: "
None of them along the line know what any of it is
worth.
Battlestar Galactica is about the future, but, like the Aeneid, it
is obsessed with the past, and with how the past is remembered.
Both the tragic figure of Laura Roslin and her relationship with
Bill Adama, and the broader narrative of exile and homecoming
echo and transform themes familiar from Vergil's Aeneid. Through a
game of twisted mirrors, Battlestar Galactica carries us through the
conceit ofscience fiction to an image, finally, of our own world, and
compels us to confront questions about our civilization in a complex
and candid way that is lacking from much political discourse, but
which owes much to Vergil's vision of the Roman past.
ENDNOTES
IThe 2003 television series reimagines an older show that was
broadcast on ABC in the late seventies. While the new series has
kept certain names and concepts, the new version forms a stand
alone narrative.
2Battlestar Galactica has already spawned a number of scholarly
books and articles that examine the political, religious, and
philosophical ramifications of the narrative. See, e.g., Josef Steiff
and Tristan D. Tamplin, Battlestar Galactica and Philosophy (Open
Court, 2008); Jason T. Eberl, Battiestar Galactica and Philosophy:
Knowledge Here Begins Out 1here (Wiley-Blackwell, 2008); and
Tiffany Potter and C. W. Marshall, Cylons in America: Critical
Studies in Battlestar Galactica (Continuum, 2007).
3See, e.g., Charlotte Higgins, in 1he Guardian, "Battlestar
Galactica revealed as the new Virgil's Aeneid," 24 February 2009,
http://www. guardian. co. uklculturel charlotteh iggi nsblogl20091
febI24!c1assics-classics.
4Bob Dylan's song is itself highly allusive and draws on many
traditions, including the Bible. See Papanikolaou, "Of Duduks
and Dylan: Negotiating Music and the Aural Space" in Tiffany
Potter and C. W. Marshall, Cylons in America: Critical Studies in
Battlestar Galactica (Continuum, 2007).
Corinne Pache is Associate Professor of Classical Studies at
. Trinity University in San Antonio, 'texas. She received her B.A.
from Hunter College, and her Ph.D. from Harvard University.
Her research interests include Greek archaic poetry--especially
Homer and the Homeric Hymns-Greek religion and myth, and
the modern reception of ancient poetry in literature and film.
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Elizabeth Heimbach
viii +144 pp. (2010) Paperback
ISBN 978-0-86516-726-1
Problem: Students don't know their
geography ...
Solution: ARoman Map Workbook
classroom set
Twenty newly designed maps
Narrative explication for each map
Map-based activities and exercises
Three sets of certamen questions
To see a preview of the book,
check out www.bolchazy.com.
Elizabeth Heimbach is ateacher's teacher. She has transformed her
frustration with students' geography skills and the worksheets
she developed over the course of thirty years teaching high school
Latin into this indispensable text.